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Documentary Critique

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Documentary Critique

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http://www.internationalschoolhistory.net/documentary/guide.htm

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DEADLINE - Friday 3rd August

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All documentaries are, to a given extent, fictional.

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All documentaries are, to a given extent, fictional.

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http://gadflyonline.com/home/index.php/reality-is-indifferent-as-to-whether-or-not-we-believe-the-ethics-of-found-footage/

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DEADLINE: September

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DEADLINE: Nov

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(40-50shots)

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Everything wrong with Fox News in one video

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A group of protesters has gathered outside Channel Seven's Sydney studio this morning where the show Sunrise is broadcast live to protest comments made by an all-white panel on the breakfast show earlier this week.

Particular offence was taken by many after one panellist with no experience in child welfare or Indigenous affairs claimed the First Stolen generations were justified because children were being abused by Indigenous parents and that we needed a second one.

A group of protesters yelled out shame and booed the studio through the large glass windows that expose the Sunrise set to the surrounding foot traffic of Martin Place in the Sydney CBD.

Speakers, who included members of the Stolen Generations, shared stories and others shouted "Leave the kids alone" or held up signs saying "Hands off our children".

It was unclear how many people attended but early videos posted on social media showed up to a hundred people surrounding the studio.

Sunrise appeared to run images of previously shot video of Martin Place behind their presenters today and closed the studio's soundproof blinds in an attempt to hide the fact the protest was happening.

In a statement provided to NITV News a Seven Spokesperson said the reason the blinds were drawn was that some of the protesters were holding offensive signs.

"We respect the right to protest as much as we respect the right of free speech," the statement read.

"Some of the group were holding offensive signage, and some began banging on the window and mouthing obscenities.

"To ensure regulatory compliance, and bearing in mind the potential for young children to be watching, the decision was made to utilise a generic backdrop."

On Tuesday this week, comments supposedly made by the Assistant Minister for Children and Families, David Gillespie, ignited a media storm and caused outrage from the Indigenous community.

"If you're not careful, the newspapers will have you hating the people who are being oppressed, and loving the people who are doing the oppressing." - Malcolm X

In this case... change "newspapers" with "breakfast television".

The scale of @sunriseon7 's deception! pic.twitter.com/DFnto3eZ5b

- Amy McQuire (@amymcquire) March 15, 2018

During the breakfast show's daily segment called 'Hot Topic' the program's host, Samantha Armytage introduced that morning's two social commentators Prue MacSween and Ben Davis, who both are non-Indigenous. The segment was later deleted from social media by Seven.

Ms Armytage introduced the segment with an inaccurate and misleading statement: "A federal government minister has suggested white families be allowed to adopt abused Aboriginal children to save them from rape, assault and neglect," she said.

"Currently, they can only be placed with relatives or other Indigenous families, but Children's Minister, David Gillespie, says relaxing the rules is a better alternative to creating an abandoned or damaged generation."

However, the "Aboriginal child placement principle", written into law in every state and territory, is a guideline designed to enhance and preserve Aboriginal children's connection to family, community and retain their sense of identity and culture. However, only about 35 per cent of Indigenous children in out-of-home care are currently placed with Indigenous relatives.

She said Australia shouldn't be scared by political correctness and it's better to remove them from a "dangerous situation".

"Just like the first Stolen Generation where a lot of children were taken because it was for their well-being, we need to do it again," she said.

During the discussion, Sam asked both commentators "should white families be allowed to adopt at-risk Aboriginal children?"

Prue began the discussion by saying it was a "no-brainer" for Aboriginal children to be removed.

Prue MacSween is a former journalist who worked as an editor at TV Week and claims she's a commentator who "never shies away from saying what others are too scared to say". Ben Davis is a former Channel 7 sports presenter and is currently the host of Brisbane 4BC's radio drive show.

She has previously called for ex-ABC host Yassmin Abdel-Magied to be run over.

Many Indigenous Australians remember the Stolen Generations as a traumatic time and a dark chapter in Australian history.

Between 1905 and 1969, Aboriginal and Torres Strait Islander children were forcibly removed from their parents in an act many Indigenous people view as the government trying to "whitewash" them.

Seven's former employee, Ben Davis also agreed with Prue and applauded the comments made by David Gillespie.

"Good on David Gillespie for standing up and saying what a lot of politicians are afraid to say because of the fear of being labelled 'racist'. I mean, it's political correct nonsense, it's gotta go," he said.

He also said he values the comments made by Warren Mundine.

"We need to be protecting kids, we need to be protecting Aboriginal kids, and putting them back into that culture. What culture are they growing up and seeing? Well, they're getting abused, they're getting hurt, and they're getting damaged," Davis continued.

Social media has been in overdrive with many Aboriginal and Torres Strait Islander users outraged over Sunrise's lack of Indigenous voice.

Calls to Sunrise's publicist were unanswered.

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'Leave the kids alone!': Sunrise tries to hide protesters after Stolen Generations comments

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A group of protesters has gathered outside Channel Seven's Sydney studio this morning where the show Sunrise is broadcast live to protest comments made by an all-white panel on the breakfast show earlier this week.

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Every cinematographer should know how to get the most out of locations and sets. Let's take a look at some ways to elevate any shoot.
Cover image via guteksk7.
We've all been there. You walk onto a job, prepared to film an interview, and the perfect location you had selected is no longer available. Neither is your second choice. Or your third. Now you're stuck in an unideal location.

Taking a boring location and elevating it with come compositional depth is a skill that every cinematographer should have. Let's take a look at some things that you can do to really improve any uninteresting interview location.

Image via Monkey Business Images.
Depth

Depth is the easiest solution to the problem of boring locations. Find a long hallway, walkway, or even a larger office and use it to create a sense of depth. If you find yourself in a boardroom, use the depth of the table as the background. Your initial reaction in this scenario may be to just put someone up against a white wall. However, by taking a look around, and thinking like a cinematographer, you can usually find ways to add depth to your scene.

Background Art

Image via Kar Tr.
Sometimes, the only thing you may have to work with is a single wall. In this case, walk around and see what you can find to improve a boring wall. Great add-in elements are things like plants, practical lights, coffee tables, textures, etc. You would be amazed at what adding a lamp to the background on the same side as your key will do to your shot. These additions will bring production value and much-needed life to your interview.

Mixing Light Sources

Image via lapandr.
I'm a huge fan of mixing hard and soft light sources. A creamy, soft key with a hard background light can really elevate a scene. My personal strategy is to create a beautiful key light with minimal shadows and then highlight the background with splashes of hard light. If there's a bookshelf behind the interviewee, I love to take 150 fresnels and just pepper in some hard sources on the background.

Some great harder sources to use include fresnels and ETC source 4 s. These lights help separation your subjects and backgrounds in any scene.

Light Falloff

Understanding how light falls off and moves through a space can help you improve the composition of an interview. By taking control of light falloff, you can take a boring white wall and make it appear gray while still perfectly exposing your interviewee.

Create Separation

I like to think that creating the illusion of a 3D world, in the 2D reality of film, makes any production look more cinematic. Separating your interviewee from the background is key to elevating the look of any interview or shot. Never underestimate a good backlight. A well-placed backlight can create a sense of separation between your subject and the background, which will immediately make your image more cinematic.

Looking for more info on cinematography and filmmaking? Check out these articles.

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5 Ways to Transform Uninteresting Interview Locations

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Cover image via guteksk7. We've all been there. You walk onto a job, prepared to film an interview, and the perfect location you had selected is no longer available. Neither is your second choice. Or your third. Now you're stuck in an unideal location.

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Over the last week or so, local television news anchors across the the country have joined together to paradoxically warn viewers about the "troubling trend of irresponsible, one-sided news stories plaguing our country." The identical, seemingly earnest editorial messages paid lip service to the importance of fact-checking and unbiased reporting, but they also complained about "false news" and "fake stories." If that seems to echo the rhetoric of President Trump, it's probably because the statement was written by one of his allies.

The anchors were forced to read the so-called journalistic responsibility messages word for word by their employer, the conservative-leaning Sinclair Broadcast Group, the largest owner of television stations in the country. The features were one of Sinclair's now infamous "must-run" segments, consisting of conservative commentary that every Sinclair-owned station is required to air.

Think Progress rounded up many of the "fake stories" segments for a chilling video on Friday, but Deadspin's Timothy Burke published a much more terrifying version on Saturday, which at one point shows 30 of the segments synced up in unison:

How America's largest local TV owner turned its news anchors into soldiers in Trump's war on the media: https://t.co/iLVtKRQycL pic.twitter.com/dMdSGellH3
- Deadspin (@Deadspin) March 31, 2018

If you want to read along, the script that Seattle's KOMO-TV used on the air, which was obtained and published by the Seattle Post Intelligencer on Thursday, is as follows:

"Hi, I'm(A) ____________, and I'm (B) _________________... (B) Our greatest responsibility is to serve our Northwest communities. We are extremely proud of the quality, balanced journalism that KOMO News produces. (A) But we're concerned about the troubling trend of irresponsible, one sided news stories plaguing our country. The sharing of biased and false news has become all too common on social media. (B) More alarming, some media outlets publish these same fake stories... stories that just aren't true, without checking facts first. (A) Unfortunately, some members of the media use their platforms to push their own personal bias and agenda to control 'exactly what people think'...This is extremely dangerous to a democracy. (B) At KOMO it's our responsibility to pursue and report the truth. We understand Truth is neither politically 'left nor right.' Our commitment to factual reporting is the foundation of our credibility, now more than ever. (A) But we are human and sometimes our reporting might fall short. If you believe our coverage is unfair please reach out to us by going to KOMOnews.com and clicking on (B) We work very hard to seek the truth and strive to be fair, balanced and factual... We consider it our honor, our privilege to responsibly deliver the news every day. (A) Thank you for watching and we appreciate your feedback" CONTENT CONCERNS. We value your comments. We will respond back to you.

The Post Intelligencer adds that, according to a source at KOMO-TV, the anchors were "certainly not happy about it," since the statements were "a forced thing." One KOMO anchor also tweeted a column criticizing Sinclair on Sunday. They aren't alone in their discontent. CNN's Brian Stelter has reported that other channels' staff members resent the move, too. He has also reported that Sinclair instructed its channels to repeat the promos as often as possible "to create maximum reach and frequency."

Here is the part of Sunday's Reliable Sources that Stelter devoted to the Deadspin video and ongoing controversy:

Other Sinclair-forced segments have included commentary from former Trump advisers Boris Epshteyn and Sebastian Gorka, who recently warned Sinclair's audiences that the deep state" was trying to undermine the president. The company also put its thumb on the scale for Trump during the 2016 presidential campaign, and periodically tries to keep Americans anxious about more than just bad weather with its Terrorism Alert Desk segments, which round up worldwide terror attacks.

Sinclair already owns or operates 193 stations across more than 100 U.S. television markets, and will likely own more than 230 in the near future if its proposed merger with Tribune Media goes through - which it surely will under this administration. From a business perspective, the "fake stories" edict was probably meant to discredit Sinclair's shrinking number of competitors at least as much as it was to back Trump's view of the mainstream media. The good news is that a recent academic study indicated that Sinclair's propaganda turns off viewers. The bad news is that the same analysis concluded that the right-wing bent may not actually cost the company any of its profits, so don't expect a market correction on this kind of behavior anytime soon.
This post was updated to reference the KOMO anchor's tweet and include the Reliable Sources segment.
Local News Is Turning Into Trump TV, Even Though Their Viewers Don't Want It

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News Anchors Reciting Sinclair Propaganda Is Even More Terrifying in Unison

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Over the last week or so, local television news anchors across the the country have joined together to paradoxically warn viewers about the "troubling trend of irresponsible, one-sided news stories plaguing our country." The identical, seemingly earnest editorial messages paid lip service to the importance of fact-checking and unbiased reporting, but they also complained about "false news" and "fake stories."

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QUIZIZZ: Click the link below and enter the 6 digit code. Then follow the prompts to play.
YOU WILL NEED THIS CODE: 132304
https://join.quizizz.com

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Caught Photoshopping lies

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We reveal how Women's Magazines are faking photos of celebrities to make them appear together

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Storyboarder

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Storyboarder - The best and easiest way to storyboard.

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Storyboarder makes it easy to visualize a story as fast you can draw stick figures. Quickly draw to test if a story idea works. Create and show animatics to others. Express your story idea without mak

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Make sure to reference the Code of Ethics !!!!!!!

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You can download a .pdf of this page HERE.
Under MEAA's rules, MEAA's Journalist Code of Ethics only applies to MEAA Media's journalist members. The Code first adopted in 1944, reviewed and updated in 1984 and subject to a major review between late 1993 and 1998 resulting in a new code of ethics being instituted in February 1999.

Complaints brought against MEAA members for Code violations are investigated by MEAA's Ethics Committee. The Committee consists of nine MEAA financial members and four members of the general public. The Committee members are appointed by MEAA's biennially-elected National Media Section committee.

MEAA Ethics Committee chair

Greg Miskelly

Greg Miskelly is a freelance investigative journalist and strategic communications expert with deep knowledge of video, print, radio and digital media.

His career commenced at the ABC's legendary Gore Hill TV studios, where he was part of the creative teams behind iconic shows like Enough Rope with Andrew Denton.

He has two decades of experience writing, producing and supervising daily news and current affairs programs like 7pm News, 7.30 Report, Stateline, Media Watch and Lateline.

He's been nominated three times as a Walkley finalist for his investigations into political and environmental issues in New South Wales.

He now works part-time as a freelance digital producer, media consultant and writer.

As well as volunteering as chair of MEAA's National Ethics Committee, Greg has served previously served as an elected delegate on MEAA's Federal Council.

A MEAA member commits an offence if found guilty of any violation and/or refusal to observe the Code, or failure to obey a summons to attend a meeting of a Complaints Panel and failing to supply the Committee with a reasonable explanation for non-attendance.

If guilty, the member may be liable to any of these penalties: warning, reprimand, fine (maximum $1000), membership suspension (for up to one year) and expulsion from membership.

Complaints

Anyone may write to MEAA alleging a MEAA journalist member has acted contrary to the Code. The complaint is submitted as soon as possible to the chair of the Ethics Committee to consider.

The Committee does not accept anonymous or oral complaints. It has the right to refuse to receive, investigate or make a decision upon any complaint which, in the opinion of the majority of Committee members, does not come within the provisions of the MEAA Journalist Code of Ethics, or which is vexatious, frivolous or trivial.

The Committee can investigate any report on any matter concerning MEAA's Journalist Code of Ethics which may be referred to it by MEAA's Federal Council, the MEAA Board, MEAA's National Media Section committee or a MEAA Branch Council.

If a complaint requires investigation, the Ethics Committee chair has eight days to convene a Complaints Panel of three members of the Ethics Committee - at least one must be a general public member. The chair will advise the complainant that the complaint has been received and advise the member of the nature of the complaint.

The Complaints Panel will consider the complaint and can dismiss the complaint without further action; attempt to mediate; or seek further information. It can also have the parties appear personally before it. The parties can call witnesses who can be examined or cross-examined.

While the formalities of legal proceedings are followed where necessary to protect the member, the Complaints Panel is not bound by formal rules of evidence. The Complaints Panel hearing is to ascertain the truth and substance of the matter. The rules of natural justice are observed but neither party has the right to legal representation.

Upon completing its investigation, the Complaints Panel decides by a majority vote whether the complaint is upheld or dismissed. If upheld, it will also decide by majority vote on the penalty to be imposed. The chair of the Ethics Committee will advise the complainant and the member of the Complaints Panel's decision within 28 days.

Appeals
Each party has the right to appeal, except where the complaint is dismissed (this accords with the general legal system preventing double jeopardy, in that a person found not guilty of an offence cannot be retried). If no appeal is lodged within a further 28 days, the decision is confirmed and any action required is taken.

If an appeal is lodged, the Ethics Committee chair has eight days to convene an Appeal Panel of five members of the Ethics Committee - at least two must be general public members of the Ethics Committee. No member of the Complaints Panel that heard the original matter can sit on the Appeal Panel.

The Ethics Committee chair will advise the appellant that the appeal has been received and advise the other party of the nature of the appeal; and provide the Appeals Panel with all material connected with the decision.

The Appeal Panel is restricted to correcting error in the Complaints Panel's decision. The parties can provide further evidence to the Appeal Panel.

The Appeal Panel will consider the complaint and can dismiss or uphold the appeal; vary the original decision of the Complaints Panel; direct that a new Complaints Panel be convened to reconsider the complaint; or seek further information from either party. It can have the parties appear personally before it, and can allow them to call witnesses who can be examined or cross-examined.

The Ethics Committee chair will advise the parties of the Appeals Panel's decision within 28 days.

Frequently Asked Questions

N.B. This page contains Frequently Asked Questions about the MEAA Journalist Code of Ethics only. The complete MEAA Journalist Code of Ethics can be found .

You can also download a .pdf of this FAQ document:

What is MEAA?

The Media, Entertainment & Arts Alliance is the largest and most established union and industry advocate for Australia's creative professionals.

MEAA is divided into several sections representing several industries.

The MEAA Media section welcomes as members people who work in Australia's media and communications industry including those working on any platform (print, broadcast, digital); as reporters, editors, photographers, designers, producers, artists, cartoonists, sub-editors - including those working as full-time, part-time and casual employees or as freelance independent contractors, and in public affairs and communications. MEAA's Media section has about 5500 members.

The MEAA Media section was originally created as the Australian Journalists Association (AJA) in Melbourne on December 10, 1910.

HISTORY AND BACKGROUND OF THE CODE OF ETHICS
Who is bound by MEAA's Journalist Code of Ethics?
Under MEAA's , MEAA's nly MEAA Media members can be investigated for alleged breaches of the Code. It is a requirement of the Journalist Code of Ethics only applies to MEAA Media's journalist members. O Fair Work (Registered Organisations) Act 2009 that MEAA's rules are registered with the Fair Work Commission.
When was the Journalist Code of Ethics adopted?
In 1944, the Australian Journalists Association (the forerunner to the MEAA Media section) created and adopted the Journalist Code of Ethics - an initiative prompted by the creation of similar codes in the US and Britain. The move was seen as important to improving the status of journalists by "enforcing a code of honour", free from "outside control", by creating "strong internal systems for the enforcement of recognised standards of professional honour and decency" [1].

Some media employers condemned the Code saying that it presupposed a necessity for its creation: "The maintenance of ethical standards is a matter between newspapers and their readers and it cannot be consider a function of an organisation such as yours [the AJA]."[2] Despite this, there was broad community support for the code.

Later, in 1947, a journalist complained that the Code was "tyrannical and oppressive" and launched a complaint against the AJA. However, the full bench of the Commonwealth Arbitration Court found the AJA's rules including the code "bear the strongest evidence of careful draftsmanship and there was nothing in any of the challenged rules which was either tyrannical or oppressive."[3] The Court's decision ensured the status of the Code as a professional code of conduct for journalists.

The code was reviewed and updated in 1984 and subject to a comprehensive review between late 1993 and 1998 involving submissions from MEAA members, other journalists, media academics and organisations as well as individuals who had been the subject of media coverage. The review led to the current MEAA Journalist Code of Ethics being instituted in February 1999.

In reviewing the code, MEAA's review Committee said: "A code helps a group define and redefine itself. Adoption is belonging. A profession's code tells practitioners who and what they are." [4]

It added: "A code declares to others what the group is about. It states purposes, values and standards that others may use to understand it, form expectations of it, debate with it, assess it, and consider any privileges conferred on it or duties imposed on it."

MEAA believes that, to avoid the imposition of government regulation, it is necessary for a professional association to demonstrate it is self-regulating.

Journalism has always been a profession operating under considerable commercial pressures. The journalism funding model, whether through subscription and circulation, public or private funds, or advertising, is always at odds with the requirement that journalism be committed to honesty, fairness, independence and respect for rights of others. It is not easy to find a balance between the age-old functions and needs of "church" and "state".

MEAA believes that by adopting the Code, MEAA members are equipped with a valuable tool to push-back against pressure to engage in unethical behaviour and, by observing the Code, they are encouraged to make the effort to produce journalism of high quality and integrity.

The Code and technological change

From time to time, particularly in recent years with digital technology transforming journalism, there have been questions about whether the Code reflects changes in technology.

MEAA believes that the Code is applicable to all types of journalism regardless of a particular technology or publishing platform. In essence, the requirements of ethical journalism do not alter from one platform to another or one technology to another.

THE DESIGN OF THE CODE OF ETHICS

The MEAA Code consists of:

a preamble that looks at aspirations: what journalism is for,

the values on which the standards are based, both as an educative tool and to help resolving dilemmas,

the standards normally to be followed, and

guidance for decision-making , acknowledging that basic values sometimes clash.[5]

The preamble expresses "the elements of journalism that matter most. This is what distinguishes [journalism] from propaganda and advertising... Journalism as a public service, a lubricant of democracy, a friend of freedom of expression... The preamble connects power with accountability, accountability with trust, and trust with the fulfilment of the public service role of journalism." [6]

The MEAA Journalist Code of Ethics

[Aspirations] Respect for truth and the public's right to information are fundamental principles of journalism. Journalists search, disclose, record, question, entertain, comment and remember. They inform citizens and animate democracy. They scrutinise power, but also exercise it, and should be responsible and accountable.

[ Values] MEAA members engaged in journalism commit themselves to:

[ Standards] Journalists will educate themselves about ethics and apply the following standards:

1. Report and interpret honestly, striving for accuracy, fairness and disclosure of all essential facts. Do not suppress relevant available facts, or give distorting emphasis. Do your utmost to give a fair opportunity for reply.
2. Do not place unnecessary emphasis on personal characteristics, including race, ethnicity, nationality, gender, age, sexual orientation, family relationships, religious belief, or physical or intellectual disability.
3. Aim to attribute information to its source. Where a source seeks anonymity, do not agree without first considering the source's motives and any alternative attributable source. Where confidences are accepted, respect them in all circumstances.
4. Do not allow personal interest, or any belief, commitment, payment, gift or benefit, to undermine your accuracy, fairness or independence.
5. Disclose conflicts of interest that affect, or could be seen to affect, the accuracy, fairness or independence of your journalism. Do not improperly use a journalistic position for personal gain.
6. Do not allow advertising or other commercial considerations to undermine accuracy, fairness or independence.
7. Do your utmost to ensure disclosure of any direct or indirect payment made for interviews, pictures, information or stories.
8. Use fair, responsible and honest means to obtain material. Identify yourself and your employer before obtaining any interview for publication or broadcast. Never exploit a person's vulnerability or ignorance of media practice.
9. Present pictures and sound which are true and accurate. Any manipulation likely to mislead should be disclosed.
10. Do not plagiarise.
11. Respect private grief and personal privacy. Journalists have the right to resist compulsion to intrude.
12. Do your utmost to achieve fair correction of errors.

[] Guidance Clause: Basic values often need interpretation and sometimes come into conflict. Ethical journalism requires conscientious decision-making in context. Only substantial advancement of the public interest or risk of substantial harm to people allows any standard to be overridden.

The Code and MEAA Media members

Upon joining MEAA, every new MEAA Media member is supplied with a wallet-sized card containing a copy of the Code and a brief explanation of how the complaints procedure works. This ensures that every member can readily access the Code should they need to consider their response to an ethical concern. Many newsrooms also display posters of the Code.

The Code is also easily accessible on the MEAA web site at https://www.meaa.org/meaa-media/code-of-ethics/ and includes an explanation of the ethics complaints process.

Increasingly, Australia legislators are making laws that have an adverse effect on journalism - by pursuing journalists' sources and by criminalising legitimate public interest journalism. Recently, several national security laws have begun using the phrase "working in a professional capacity as a journalist" in relation to the powers granted to government authorities to infringe on the public's right to know.

The Attorney-General's Department has stated that it believes indicators that a person is working in a professional capacity as a journalist would include "regular employment, adherence to enforceable ethical standards and membership of a professional body". [7]

This response, used in an explanation of section 119.2 of the Criminal Code, has also been used in the amendments to the T elecommunications (Interception and Access) Act 1979 that introduced Journalist Information Warrants - allowing 21 Government agencies to secretly access journalists' telecommunication data for the purpose of discovering (and presumably prosecuting) a journalist's confidential source.

This definition would presumably leave non-MEAA members, particularly those working as freelancers and/or bloggers engaged in legitimate journalism, "out in the cold".

THE CODE OF ETHICS IN PRACTICE

Making a complaint under the MEAA Code

If you believe a journalist has breached MEAA's Journalist Code of Ethics, you should lodge a written complaint stating the:

name of the journalist;

action that you believe is unethical;

clause or clauses of the Code that you believe have been breached.

The letter should be addressed to: the CEO, MEAA, PO Box 723, Strawberry Hills, NSW 2012 or via email ceo@meaa.org Once the MEAA CEO receives your letter, the CEO will refer it to the National Ethics Panel (see below).
MEAA's Journalist Code of Ethics only applies to members of MEAA's Media section. MEAA can undertake no action or investigation if allegations are made against individuals who are not MEAA members.
How MEAA's complaints process works

Complaints brought against MEAA members for Code violations are investigated by MEAA's Ethics Panel. The Panel consists of nine MEAA financial members and four members of the general public. The Panel members are appointed by MEAA's biennially-elected National Media Section Committee. The current chair is Greg Miskelly.

A MEAA member commits an offence if found guilty of any violation and/or refusal to observe the Code, or failure to obey a summons to attend a meeting of the Complaints or Appeals Panel and failing to supply the Complaints or Appeals Panel with a reasonable explanation for non-attendance.

If guilty, the member may be liable to any of these penalties: warning, reprimand, fine (maximum $1000), membership suspension (for up to one year) or expulsion from membership.

Anyone may write to MEAA alleging a MEAA Media journalist member has acted contrary to the Code. The complaint is submitted as soon as possible to the chair of the Ethics Committee to consider.

The Panel does not accept anonymous or oral complaints. It has the right to refuse to receive, investigate or make a decision upon any complaint which, in the opinion of the majority of Panel members, does not come within the provisions of the Journalist Code of Ethics, or which is vexatious, frivolous or trivial.

The Panel can investigate any report on any matter concerning MEAA's Journalist Code of Ethics (provided the matter applies to a MEAA Media' journalist member) which may be referred to it by MEAA's Federal Council, the MEAA Board, MEAA's National Media Section Committee or a MEAA Branch Council.

If a complaint requires investigation, the Ethics Committee has eight days to convene a Complaints Panel of three members of the Ethics Committee - at least one must be a general public member. The chair will advise the complainant that the complaint has been received and advise the member of the nature of the complaint.

The Complaints Panel will consider the complaint and can dismiss the complaint without further action; attempt to mediate; or seek further information. It can also have the parties appear personally before it. The parties can call witnesses who can be examined or cross-examined.

Although the formalities of legal proceedings are followed where necessary to protect the member, the Complaints Panel is not bound by formal rules of evidence. The Complaints Panel hearing is to ascertain the truth and substance of the matter. The rules of natural justice are observed but neither party has the right to legal representation.

Upon completing its investigation, the Complaints Panel decides by a majority vote whether the complaint is upheld or dismissed. If upheld, it will also decide by majority vote on the penalty to be imposed. The chair of the Ethics Panel will advise the complainant and the MEAA member of the Complaints Panel's decision within 28 days.

Appeals
Each party has the right to appeal, except where the complaint is dismissed (this accords with the general legal system preventing double jeopardy, in that a person found not guilty of an offence cannot be retried). If no appeal is lodged within a further 28 days, the decision is confirmed and any action required is taken.

If an appeal is lodged, the Ethics Committee chair has eight days to convene an Appeal Panel of five members of the Ethics Committee - at least two must be general public members of the Committee. No member of the Complaints Panel that heard the original matter can sit on the Appeal Panel.

The Ethics Committee chair will advise the appellant that the appeal has been received and advise the other party of the nature of the appeal; and provide the Appeals Panel with all material connected with the decision.

The Appeal Panel is restricted to correcting error in the Complaints Panel's decision. The parties can provide further evidence to the Appeal Panel.

The Appeal Panel will consider the complaint and can dismiss or uphold the appeal; vary the original decision of the Complaints Panel; direct that a new Complaints Panel be convened to reconsider the complaint; or seek further information from either party. It can have the parties appear personally before it, and can allow them to call witnesses who can be examined or cross-examined.

The Ethics Committee chair will advise the parties of the Appeals Panel's decision within 28 days.

The requirements of the Privacy Act prevent MEAA from disclosing the names of parties to an ethics complaint so details about complaints made against MEAA members cannot be made public.

On average, MEAA receives a complaint from a member of the public about alleged unethical behaviour once a month. However, many of these complaints cannot be investigated because (a) the individual media worker concerned is not a MEAA Media journalist member and therefore is not bound by the MEAA Code and so is beyond the jurisdiction of the MEAA Ethics Committee or (b) the complaint is made against a media outlet and not an individual.

In these cases, MEAA does its best to direct the complainant to a body that may be able to investigate the complaint - this includes industry bodies such as the Australian Press Council, Free TV Australia and the Australian Communications and Media Authority.

In the five years between 2015 and 2020, an average of 13 ethics complaints were received by MEAA each year. Of these, only an average of five per year were referred to the Ethics Committee chair because they involved journalist members of MEAA Media. Of these, on average only three cases per year led to the convening of a Complaints Panel for formal investigation of the complaint.

The Australian Press Council

The AJA lobbied for the creation of a press council from 1953 and the Australian Press Council was finally established in 1975 (with the AJA and publishers as constituent members), largely in response to the Whitlam Government's proposals for greater media regulation [8].

The Council has issued a set of guidelines and standards for media outlets to adhere to and also operates a complaints mechanism. Whereas the MEAA's National Ethics Panel can hear complaints against individual MEAA journalist members, the Council is the principal body with responsibility for responding to complaints about Australian newspapers, magazines and associated digital outlets, such as websites (i.e. publishers not an individual journalist). The Council's jurisdiction extends to all the print publications and related digital outlets of its constituent bodies, which collectively account for about 90 per cent of all print media sales in Australia.

The Council currently receives more than 700 complaints each year. About 75 per cent of those which are fully pursued by the complainant result in a correction, apology or some other form of action being taken. Where the complaint cannot be resolved without a formal adjudication, the publisher is required to publish the Council's adjudication promptly and with due prominence. [9]

Broadcasting regulation

Other industry groups and broadcasters, including television and radio lobby groups, operate a complaints process, including Free TV Australia (for commercial television); Commercial Radio Australia; the ABC and SBS; and the Community Broadcasting Association of Australia (CBAA) and Australian Community Television Alliance (ACTA).

The government regulator, the Australian Communications and Media Authority, also offers a mechanism for complaints about broadcasting. Any individual or organisation can make a complaint to the ACMA about an Australian broadcaster's compliance with a code, licence condition or standard. Individuals can complain to the ACMA about a matter covered by an industry code of practice, if they have first complained to the broadcaster and have not received a response within 60 days of making the complaint or are not satisfied with the response received. Complaints can be made to the ACMA about a matter relating to a standard or licence condition without first taking the matter to the broadcaster.

Several media employers also operate in-house codes of practice/codes of conduct for their employees; some of these in-house codes cite or acknowledge MEAA's Journalist Code of Ethics.

However, it is important to note once again that the MEAA Journalist Code of Ethics applies to MEAA Media members only and only MEAA Media members can be investigated for breaches of the MEAA Journalist Code of Ethics. The MEAA Code provides the opportunity for the public to lodge complaints; for complaints to be considered and, if required, investigated; and for formal enforcement procedures to be undertaken if a complaint is upheld.

NOTES

[1] Profession: Journalist - a history of the Australian Journalists' Association, Clem Lloyd, Hale & Ironmonger, 1985

[4] Ethics in Journalism - Report of the Ethics Review Committee, Media, Entertainment & Arts Alliance, Melbourne University Press, 1997

[7] Acting Independent National Security Legislation Monitor Inquiry into section 35P of the ASIO Act - Attorney-General's Department response to request for information

[8] Ethics in Journalism - Report of the Ethics Review Committee, Media, Entertainment & Arts Alliance, Melbourne University Press, 1997

[9] http://www.presscouncil.org.au/complaints/

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All MEAA Media members are bound by the Journalist Code of Ethics, first developed in 1944.

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There's no shortage of fake news going around the internet these days, but how do we become more aware as consumers of what's real and what's not?

"We are hoping to create what you might call a general 'vaccine' against fake news, rather than trying to counter each specific conspiracy or falsehood."

Researchers at the University of Cambridge may have answered just that by developing an online game designed to expose and educate participants to the tactics used by those spreading false information.

"We wanted to see if we could preemptively debunk, or 'pre-bunk', fake news by exposing people to a weak dose of the methods used to create and spread disinformation, so they have a better understanding of how they might be deceived," Dr Sander van der Linden, Director of the Cambridge Social Decision-Making Lab, said in a statement.

"This is a version of what psychologists call 'inoculation theory', with our game working like a psychological vaccination."

In February 2018, van der Linden and his coauthor, Jon Roozenbeek, helped launch the browser game, "Bad News," where players take on the role of "Disinformation and Fake News Tycoon."

They can manipulate news and social media within the game by several different methods, including deploying twitter-bots, photo-shopping evidence, creating fake accounts, and inciting conspiracy theories with the goal of attracting followers and maintaining a "credibility score" for persuasiveness.

In order to gauge the game's effectiveness, players were asked to rate the reliability of a number of real and fake news headlines and tweets both before and after playing. The data from 15,000 players was evaluated, with the results published June 25 in the journal Palgrave Communications.

The results concluded that "the perceived reliability of fake news before playing the game had reduced by an average of 21% after completing it. Yet the game made no difference to how users ranked real news."

Just 15 minutes of playing the game can have a moderate effect on people, which could play a major role on a larger scale.

Additionally, participants who "registered as most susceptible to fake news headlines at the outset benefited most from the 'inoculation,'" according to the study.

Just 15 minutes of playing the game can have a moderate effect on people, which could play a major role on a larger scale when it comes to "building a societal resistance to fake news," according to Dr. van der Linden.

"Research suggests that fake news spreads faster and deeper than the truth, so combating disinformation after-the-fact can be like fighting a losing battle," he said.

"We are hoping to create what you might call a general 'vaccine' against fake news, rather than trying to counter each specific conspiracy or falsehood," Roozenbeek added.

Van der Linden and Roozenbeek's work is an early example of the potential methods to protect people against deception by training them to be more attuned to the methods used to distribute fake news.

"I hope that the positive results give further credence to the new science of prebunking rather than only thinking about traditional debunking. On a larger level, I also hope the game and results inspire a new kind of behavioral science research where we actively engage with people and apply insights from psychological science in the public interest," van der Linden told leapsmag.

"I like the idea that the end result of a scientific theory is a real-world partnership and practical tool that organizations and people can use to guard themselves against online manipulation techniques in a novel and hopefully fun and engaging manner."

Ready to be "inoculated" against fake news? Then play the game for yourself.

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"Vaccinate" Yourself Against Fake News by Playing a Fascinating Online Game

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There's no shortage of fake news going around the internet these days, but how do we become more aware as consumers of what's real and what's not? "We are hoping to create what you might call a general 'vaccine' against fake news, rather than trying to counter each specific conspiracy or falsehood."

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Introduction Guid

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World Cinema - Part 1: Crash Course Film History #14

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4 EASY Steps to Film a Short Documentary

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Screenplay outlines are a tool to get your idea onto the page. Are you lost in your screenplay? Get a story map and learn how to outline a script!

We all know writing a screenplay is incredibly hard. While it gets easier as you go, every story is a new battle. When I sit down to write, I chase treatments, beat sheets, and outlines before I open my screenwriting software to tackle the story. Lucky for us, I'm going to walk you through how to outline a screenplay so you understand why it's such an important step in the development process.

One thing that's always helped me is thinking about the writing process like a search for buried treasure. Mostly because I love a good treasure hunt movie.

Anyway, I worked hard and came up with a screenplay outline template called "The Story Map" that I try to fill out before I write every spec screenplay.

Without further ado, let's dive into the story map!

So, What's A Screenplay Outline?

A screenplay outline helps you organize your thoughts and the beats of the story. It's a way to also entice yourself and the reader of the outline. When I think about screenplays, I think about all the beats you hit to take your audience from the opening scene to the closing credits. Sure, some people swear by Blake Snyder, but I prefer to think of the screenplay more as a map than as individual building blocks.

It takes the pressure of page goals and formulaic outlines. Just tell me a great story!

And use these beat ideas to brainstorm. There are twists, turns, but no matter what you're trying to get to that ending payoff.

I created the Story Map as a screenplay outlining tool. Think of it as a fun exercise that can help get your story out of your brain and onto the page.

Free Screenplay Outline Template: The Story Map

A great screenplay outlining tool!

Here's the way I see our Screenplay Outline:

I created this story map to help myself when I'm outlining new script ideas (maybe some from the Public Domain), and I think it applies to lots of different genres and sizes of movies.

So let's go over some Story Map examples and see how it works and why it's a useful screenplay outlining tool.

If you want to follow the Story Map with the movie Rocky, check this post out!

Screenplay Outline Examples Using the Story Map

My goal here is to pick 14 different movies and show you how each of these points lines up to what happens within them. Ideally, you could pick any title and trace the Story Map throughout each of them. I wanted to use our Screenplay Outline technique because I thought it would inspire you.

So let's jump right in!

Do you have an opening scene that defines the movie?

Your opening scene matters, so when you start an outline, pick something that grabs the viewer and thrusts them into the world. One of my favorite all time is the one from Unbreakable.

It gives us no one, but TWO origin stories. We learn about Mr. Glass, and then we start to learn about his opponent, David Dunn, after his train crashes. These set up the entire movie and its theme.

We're on the edge of our seat right away.

The Launch Point

Where are we, and who are we with?

When you're writing the first act of any movie you want to start meeting the characters, my favorite movie that does this is The Goonies. It's so incredible to see the kids get together and to learn their personalities right before we set off on an adventure with the whole team.

What's a normal day look like in this world?

Before anything can happen, we have to see what the homeostasis is within this universe. The best character actions are reactions to the world. So let's learn about the world.

Even if it's a fantasy world like The Shire in Lord of the Rings, we need to know what "normal looks like."

That way, when the characters break out, we can gauge and understand their reactions.

What sets our characters off on their journey from normalcy?

It's time to get your characters out the door and on their journey.

One of the best examples of this is when Luke Skywalker heads out with Ben Kenobi after Uncle Owen and Aunt Beru's death. His life has changed, and now he's going to join the rebels and learn about the force to combat injustice.

The Foot of the Mountain

Okay, we're going on this journey together.

Before we jump into Act II, we have to reset the world.

This is when we start to have some fun in the world. Why are people here to see your movie?

In Titanic, it's when the romance begins.

It starts hard, but you get used to the problems as you go.

The fun of the second act is watching your characters try and fail over and over. These are the parts in Manchester By The Sea where the guys are trying to get to know one another while also confronting the irreconcilable grief that has taken over their lives.

Do you have a B-story? Set that story off on its own now too.

Ah, the dreaded B-story. What else is going on in your movie? Who else should we meet along the way? In movies like Game Night, it's when we are following the other characters playing the game.

In this case, it's figuring out which celebrity the woman in this couple dated.

It's a runner with a great payoff.

https://www.youtube.com/watch?v=Eh2P3pmrMSM

You're in the middle. Is there another way to get it done?

Midpoints are tricky parts of the story. You need to completely rearrange what's going on for the characters, and have them learn to confront their problem in a new way.

In a movie like Spy, Melissa McCarthy has been going undercover and looking frumpy. Now she aligns herself with the villain, with a new badass cover story to help her achieve her goal.

https://www.youtube.com/watch?v=5wY84NeQSYk

Things begin to fall apart, can they handle it?

As you cruise through act two, it gets rougher and rougher on your characters. You want to frustrate them, make them feel vulnerable, and take them to the brink.

In When Harry Met Sally, it's when they're finally together... and things begin to go wrong. We know it's leading up to something terrible, and all we want them to do is be happy.

https://www.youtube.com/watch?v=66rgjC6eoDo

The worst thing happens, something so bad you don't think you can get up.

This is the low point in the movie. It's when everything seems like it's over and there's nothing left to root for. "All is lost", in Blake Snyder's words.

I can't think of anything more crushing than when Wilson disappears in Castaway.

This is the lowest part of the main character. He's now alone, probably going to die, and his only friend drifts away completely.

https://www.youtube.com/watch?v=zaQa4ttIyNo

What do your characters discover about themselves/the problem that they never saw before?

The only way to bring your characters back from the brink is to let them discover that deeper thing they had inside them. Maybe it's the thing that tells them they can make it through the wire. Maybe it's the thing that proves their wild theory.

One of my favorite "wild theory" movies is Zodiac, and I love the break in the case seen here. After decades of failures, these guys have an idea. They have a suspect even if it's a long shot.

And it took going through hell to get there.

https://www.youtube.com/watch?v=W91BHqxJIRg&t=0s&index=10&list=PLZbXA4lyCtqodeV5nQfugEl3-JlQWDKDJ

They're up and running no matter what.

After your character digs deep, finds something they never knew they had, it's time to hit the gas.

You have the audience right where you want them. It's time to deliver.

In Spider-Man: Homecoming we know Peter has to thwart the Vulture. But he also has the prom. Peter has to race outside to stop what's going to happen.

https://www.youtube.com/watch?v=tu6FDI4JBDY&t=0s&list=PLZbXA4lyCtqp0qUwB_rrCTZZMZUQYpQBV&index=8

The Treasure Chest

Did they get what they came for?

Look, at the end of the script, you need to decide if the character gets what they set out for - so this is the time to lay it down. I love the fake reveal in The Usual Suspects, where our police captain thinks he's interrogated and broken a man.

Just to find out Keyser Soze has thwarted him again.

https://www.youtube.com/watch?v=-_6560AW1zQ

Show us the world in a new light, hint what's next.

This is the point where we finally wrap things up. What do you want from your final scene?

There was some controversy with the ending of Get Out, as one of the endings Jordan Peele filmed was inside a prison, after the main character was framed for the murders of the insane family who tried to steal his body.

But I love the original ending and how everything ties up, with some fear of what is to come.

https://www.youtube.com/watch?v=gvWv0c9GVSs

When should I use a screenplay outline?

After reading this, I hope you use our story map any time you get a movie idea. I share these outlines with fellow writers and even my manager to get notes. They help me determine the viability of an idea and help me polish it so that when I finally open my screenwriting software, I'm ready to attack the story.

Outlines are not only a tool for you but can be great to help share and craft ideas with others. I use them to refine my pitches, work out my TV pilots, and even when I need to write a movie summary.

If you have questions or comments about the script outline or story map, leave them in the comments!

I can't wait to read what you write.

What's next? Check out our Beat sheet!

Stuck and can't write your way out? A beat sheet can help you pick moments that keep your narrative thrust moving forward. So why aren't you using one?

Your screenplay is built up of individual story beats that create emotional reactions in the reader and viewer. These beats are based on classic screenplay structure. The beats help guide thecharacter arcs, story structure, and even your elevator pitch. So where do the beats come from? A lot of people find the Save the Cat Beat sheet a little overrated and it seems like every writing website has their own beat sheet template.

So click the link and learn you use ours. It's an incredible compliment to the Story Map!

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Screenplay Outline: Free Story Map Template

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Screenplay outlines are a tool to get your idea onto the page. Are you lost in your screenplay? Get a story map and learn how to outline a script! We all know writing a screenplay is incredibly hard. While it gets easier as you go, every story is a new battle.